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Using drama to address bullying A Teacher’s Manual
Written by InSite Drama
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Contents
Introduction ....................................................................................................... 3
Context .............................................................................................................. 3
What is drama? .................................................................................................. 4
The basic steps of structuring drama ................................................................. 5
Structuring a drama lesson ................................................................................ 5
Key terms ......................................................................................................... 11
Suggested further reading on drama education ............................................... 14
Suggested international websites for further guidance ................................... 17
About ............................................................................................................... 18
Annex ............................................................................................................... 20
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Introduction
This manual has been developed as part of the EU BULLY project (JUST/2013/DAP/AG/5364) to support drama training delivered by InSite Drama which support teachers to address bullying with young people in schools, youth groups or other formal and non-formal settings. The project intends to make a difference within the education system in each partner’s country or region through:
better trained teachers and support staff to address bullying in all its forms better trained staff in community environments to support young people and their parents,
carers, guardians and wider family and friends networks to address bullying greater confidence in using drama techniques at school in and outside of the classroom to
create safe places to discuss bullying and other contentious issues more understanding that the “classroom” can be different to the traditional concept of a
classroom located within a physical building of a school and can encompass a theatre environment to offer informal learning opportunities
offering greater flexibility for teachers to use a more diverse range of learning styles and content by using drama in education techniques and apps developed for mobile technologies
improving the content of anti-bullying programmes on offer in schools at all levels within the compulsory education sector by adopting a whole school approach to cascading learning across the whole school curriculum
improved knowledge of the frequency of cyber bullying taking place reducing the disparity in knowledge, skills and understanding between countries in the
partnership in regard to bullying and its impact
Context Bullying is an oppressive force that impacts on the lives of many young people and adults, be that through the devastating psychological and physical consequences experienced by a victim, as a bystander or by acting as a bully themselves. With the ever growing development of online technologies, young people face a 24 hour intrusion from strangers and unwelcome, unavoidable communications. This dark online world can easily be hidden from trusted friends or adults, and without a lease for their emotions, it may lead to feeling of entrapment, or worse, damaging coping strategies including self-harm and suicide. EU BULLY gives a voice to those affected by bullying who may otherwise have no space to do so; to share their experiences and explore ways of overcoming bullying behaviour. Drama can be used as a powerful method to demonstrate the emotional consequences of bullying and to share thoughts and experiences through the safety of fiction. EU BULLY champions the use of drama in formal and non-formal education settings as an effective means for schools and youth organisations to tackle the problem across the whole school, not just with the victims and bullies. Across 2015, InSite Drama, a drama in education advocacy and training organisation, delivered workshops to teachers and youth support workers in Romania, Greece, the UK and Ireland, introducing them to the educational application of drama techniques pioneered by the theorist Edward Bond. This guide complements
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the training of teachers with little or no background experience of using drama in their practice to apply the methods with their students as an anti-bullying tool.
EUBULLY offers a blended approach - creating innovation in the virtual world alongside transfer and roll out of best practice in the use of drama in the physical world. Many anti-bullying initiatives are built upon the core philosophy of the Whole School Approach: on the assumption that bullying is a systemic problem, and, by implication, an intervention must be directed at the entire school not just at individual bullies and victims (Smith, Schneider, Smith, & Ananiadou, 2004, p. 548). The project is also reaching out to young people online through a research app that collects anonymous data on types of bullying and incidence rates in Europe.
What is drama?
Drama creates the possibility for contextualised learning; problems, themes and events can be seen within a specific situation and from the perspective of people affected by it. Drama helps to deepen the understanding of certain problems or scenarios. Working with particular problems such as bullying might be emotionally and/or intellectually challenging and demanding; it can strike a chord with our own experiences and personal attitudes. However, this opens up the potential for deeper learning and understanding of our societies, ourselves and how we interact with each other in it. Through drama we look at these issues from different angles, different points of view and continuously evolving perspectives. We build a fictive but detailed context; we build a story by creating specific situations, that is shaped by the imagination and experiences held in the group. On one hand fiction helps to keep a distance from the situation and protects the participants. On the other hand, fiction helps to build engagement. Drama happens in our head by activating our imagination.
In drama, we frequently change working styles and perspectives:
Working in large groups/small groups/pairs/individually
Watching/ listening/ discussing/ creating still images/ improvisation/ directing
Working with the location/ working with the character/ working with the problem/ working with the story
Building the story/ listening to the narrative
Addressing the perspective of the bully/ accomplice/ bystander/ victim/ teacher/ parent
Building up fiction and a story as well as reflecting and presenting back
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The basic steps of structuring drama
The below stages provide an outline of how to plan and set up a drama lesson with any group.
1. Setting the aims You will first need to consider:
Who am I working with? (age, size of group, maturity of group, experience in drama, any other important features, eg. special needs)
What am I interested in? What is the purpose of the dramatic process?
What interests the group? What is my aim with their subject of interest?
2. Setting the situation Think about the following criteria in you scene:
Place
Time
Roles o Who are we playing? o What is the frame distance?
Consider the issues that could arise within the fiction o Possible tensions o its relation to potential problems in real life
3. Planning the steps to build the situation, to deepen in and reflect on it- how will your participants build up the situation and how will you facilitate their reflection on the scenario they have built? 4. Planning the roles and the questions of the facilitator – decide which roles the facilitator will take on (e.g. the victim, the bully, the headmaster) and what kind of questions to ask during the discussions to draw out meaning.
Structuring a drama lesson © InSite Drama1 This chapter will look in depth at the stages of a drama lesson and the kind of activities and techniques to include at each one.
1 Workshop participants are free to use this structure or elements of it in their work with youth/children. The use of it in higher education, adult education, or sharing it with third parties, publishing parts of it or the whole of it needs to be permitted in writing by InSite Drama.
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1. Identify your Central theme: understanding the impact of bullying and the responsibility of different actors in it.
2. Identify your aims of the lesson:
participants will investigate the problem from different perspectives, and think about the responsibility of different actors in bullying,
those who have experienced bullying from one perspective (the bully /accomplice / bystander / the bullied) will have the possibility to place themselves in another role,
participants will have the opportunity understand the adults’ (parents’/teachers’) point of view
group members will have the chance to give advice and offer solidarity indirectly to the victims of bullying.
All this can happen within a fictive situation through the safety of taking on a role of a character.
Props needed: paper, felt-tip pens, post-it notes, masking tape, school bag. Space needed: at least a classroom sized space with moveable chairs and desks.
3. The structure of the drama piece
Introduction 1. Introduction from the facilitator. In case it is the first time she/he is meeting the group they
could introduce themselves as well. “I brought you a story that we could look at together”.
2. Warm-up game: to learn
names/an energiser/to get the group concentrating and ready. The use of this can depend on the needs of the group (optional element in the structure).
3. Discussion: What will make a
difference to how a young person feels in his/her school?
Sharing the problem
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4. Marking the space: a bus stop near Thessaloniki. The bus stop is marked using three chairs by the facilitator. The surrounding is described through the participation of the group; what can be seen, what the feeling of the space is, what are the smells, etc. The chairs have strips of masking tape stuck on them. We ask the participants to write/draw the graffiti that is on the bus stop on to strips. The graffiti on the strips are then shared with the group, and discussed.
5. The facilitator narrates: she/he
will take on the role of Peter2, who is 11 years old3. We will see him on a school day in the afternoon. A short scene: Peter is fleeing, he throws his bag on the ground. “Fuckers.” Reads the graffiti, takes out a pen and writes something on top of one of them.
6. Discussion: what did you see?
Analysing the situation from the victim’s side 7. Narration: a teacher from
the school saw Peter running away, but did not see what happened. The teacher follows Peter to the bus stop. Improvisation: one of the participants can play the teacher. The facilitator remains in the role of Peter and he does not reveal what happened but tries to diverge the discussion, saying everything is fine.
8. Discussion: What is holding Peter back from talking? The facilitator puts masking tape between
the spot where the teacher sat and the spot where Peter sat and writes the things the participants say are stopping Peter talking.
2 If there is a Peter in the group the name should be changed! 3 The age of the boy can be changed depending on the group. There should be a difference between the group’s age and Peter’s.
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Analysing the situation form the perspective of the bully, the accomplice and the bystander 9. A whole group still-image: Something happened at the school gate. The site is created with the
group and the school’s motto is put on the gate. We discuss what might have happened, but do not fix the role of all the participants. Whether the bullying brought in is physical or verbal and the extent of it, is decided by the participants.4 The image is set up step by step with the active participation of the group. Everyone should place themselves in the image of the school gate scene. The facilitator stays in the role of the victim.
Thought tracking: The facilitator goes around and asks those she/he touches on the shoulder to say something or do a gesture. They can say something which their character would actually say or do in that situation, or a thought that remains in their head.
10. Creating depth: the bully, an accomplice and a bystander is chosen by the facilitator. They are all
given fictional names. We discuss the following in all three cases:
action - what is she/he doing?
motivation - why is she/he doing it?
investment - what is at stake for her/him?
11. Working in groups on images or scenes: three groups work on a different role, either the bully, or the accomplice or the bystander, and look at the model for their action. Where did they learn to act like this? These scenes or images are shared. Whilst they are shared the facilitator discusses: what is the characters’ outlook on life – how do they show this through their action?
Analysis of the situation from the parents’ perspective
4 This is the only situation in the drama where a participant plays the role of the bully, in all other moments both the role of the bully and the victim is taken on by the facilitator. It might be useful to reinforce the fictional nature of the situation, that everyone is playing a role.
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12. Narration: Peter arrives home and locks himself in his room. Short discussion about the space: Peter’s room is set up as described by the participants. Still image: Peter in his room alone. The facilitator is directed by the participants.
13. Forum theatre: the participants are
offered the role of the parent who tries to talk with Peter. The situation starts with the doors closed and the question is how the parent could get in. Peter only says as much as would be appropriate in such a situation; he might hint that the bullying is happening on other forums as well, e.g. the internet.
Analysis of the situation from the teachers’ perspective 14. Meeting: the whole group is in the role of the school’s teaching staff. The facilitator is in role as
an “unmotivated” head teacher. Some parents have complained that there is too much aggressive behaviour among the students. The head teacher is not very motivated to deal with this problem, but worries about the reputation of the school. We don’t know who the aggressors are or what is happening really, so it would be useful to get to know more and participants decide how to do this.
15. Improvisation in pairs: The participants form pairs, one of them is a teacher, the other one is a student. The teacher tries to find out what is happening among the students. The student was present at the incident at the school gate but can decide if she/he was a bystander or an accomplice (she/he cannot take on the role of the bully or the victim), and can decide how much and what she/he says. (Try to be realistic, how much would a student tell a teacher?)
16. Meeting: the participants that had taken on the role of the teachers make a circle together with
the facilitator in the role of the head teacher, and they report back on what they found out and what could be done. The participants who played students earlier can watch the discussion. They can reflect on what they saw after the meeting is finished.
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Possibilities to change the victim’s situation 17. Small group discussion: what
could the different actors do to improve the situation? The participants collect ideas about what the following people could do:
classmates who are bystanders
teachers
parent
victim The groups share their ideas with each other.
18. Whole group improvisation: There will probably be suggestions for the bystanders to do
something in the group discussion. We then choose a situation where this could actually happen and test it out in an improvisation. The victim is not present in this moment, and the role of the bully is taken on by the facilitator. The situation should be directed so that the bully (facilitator in role) is placed standing opposite to the group. This should be make it possible for the group to get their message through to the real life bullies in the group by aiming it at the facilitator in the safety of their fictive roles.
Reflection and closing the process
19. Discussion about any issues arising from the whole group improvisation. Possible directions for this could be to discuss the responsibility of different people in the bullying situation, or what could have been done at other stages of the bullying?
20. Closing the process: Everyone
can send a message to Peter. They are written on post-it notes and can be placed on the graffiti in the bus stop.
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Key terms
(Source: DICE Consortium (2010): Making a world of difference. A DICE resource for practitioners on educational theatre and drama (Ed. Cooper, C.). Budapest, Hungary)
Applied theatre and drama
Applied drama is related to the practices of community-based theatre and is usually a reference to forms of dramatic activity that primarily exist outside mainstream theatre institutions. As an umbrella term, applied drama (or applied theatre) is comprised of diverse dramatic practices as:
community theatre
psychodrama
social theatre
theatre of the oppressed
debate theatre
youth and children theatre
games and exercises
interactive theatre
pre- and post-performance sessions
theatre in education (TIE) programmes A shared aspiration is to use drama to improve the lives of individuals and create better societies.
Process drama (also known as drama in education, educational drama, creative drama)
Process drama is a genre of educational drama which focuses on collaborative investigation and problem-solving in an imaginary world. Process dramas use ‘pre-texts’ (photographs, newspaper articles, music, artefacts, etc.) to frame the investigation and raise questions for the students. Process dramas are improvised, not script-based, built up from a series of episodes or scenic units, usually in a non-linear and discontinuous fashion. The entire group of participants are engaged in the same enterprise, and the teacher may function within the drama as playwright and participant. A primary purpose of process drama is that the participants discover, explore, and articulate a theme, narrative or situation together as percipients, i.e. as both participants and observers, or put differently: as audience to their own acts. In process drama there is an intention to learn and understand, rather than to perform and entertain.
Theatre in education
Theatre in education (TIE) is a theatre genre and dramatic outreach activity for schools or nurseries/kindergartens – tailored to specific age or target groups - by professional actors. Its primary aim is to use theatre and drama to create a wide range of learning opportunities across the whole curriculum. Most TIE programmes comprise performance and participatory/ interactive elements. Actor-teachers (so called because they use the skills of the actor while thinking as a teacher at one and the same time) engage the pupils directly in parts of the play, or tasks and activities extending from it. Often the TIE programme involves preparation work and follow-up (usually
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drama) activities developed as a part of the whole experience.
Fiction The dramatic fiction is an imagined reality, the essential ingredient for an activity to be called theatre/drama. It is the nucleus for all acting behaviour and is dependent on a willingness to make-believe, i.e. to enter the ‘as-if’ or the dramatic world.
Frame / framing Frame or framing in drama denotes both a role function for the participants in a dramatic event, a degree of distance from the actual event, and a certain perspective or viewpoint through which the event is explored. Frame gives participants a certain role authority, providing a heightened consciousness of the significance, implication and understanding of the event. Frame is also a means of providing dramatic tension
Protection Protection in drama means to shield participants from unwanted personal exposure. The awareness of the make-believe reality, which presumes a degree of detachment from ‘the real’, is a basic condition for protection. Protection is not necessarily concerned with protecting participants from emotion, but rather with creating a safe enough space for the participants to be both engaged and detached; to be protected ‘into’ the drama.
Improvisation Improvisation in drama means playing without a script: to offer a spontaneous response to the dramatic situation unfolding and being explored. Improvisation is setting out to solve a problem with no preconception as to how it should be done, permitting everything in the environment – animate or inanimate, actions or ideas – to work in solving the problem and investigating the situation. Improvisation in the context of this resource book is not a skit, a game or theatre sport. It is a process of creating an imagined world together with fellow participants, to discover, articulate and sustain fictional roles and situations without a given plot or story line for the communication. Improvisation means saying ‘yes’ to one’s own intuition and imagination within the constraints and ‘rules’ of the fictional situation, whilst accepting ideas offered by fellow players.
Still image, Tableau
Tableau is a depiction (or still image, freeze frame, frozen picture) created by the participants’ bodies as a response to a situation, a narrative or a theme. The function of a tableau is to “stop time”, arrest attention, and detain the viewers’ perception. Tableau is often used to capture a significant moment, accompanied by interpretation, reflection and discussion.
Teacher-in-role Teacher-in-role means that the teacher takes on a role other than her/ himself and works in a fictional context with participants who are usually also in role. The teacher-in-role-convention comprises various role dimensions, like: ‘the leader’ – authority role (for example, mayor, gang leader, captain, chairperson, chief executive), ‘the opponent’ – authority role (for example, unfair headmaster, insensitive director, cunning real estate agent, dishonest politician, ghost), ‘the second in command’ – a mid-position role (for example, messenger, delegate, police officer on duty, doctor’s assistant, acting manager), ‘the oppressed‘– low status role (for example, asylum seeker, newcomer in need of work, victim of bullying, prisoner, waitress), ‘the helpless’ – someone-in-need role (for example, pensioner, disabled person, homeless person, refugee without passport, outcast). The teacher-in-role represents a figure with an attitude and a sentiment; it is not a character and the teacher should not be perceived as a performer. T-i-R is a much-used strategy and form in process drama.
Forum theatre The Forum theatre designed by Augusto Boal is a genre and a strategy in
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which a situation with an unhappy ending, where a person usually is suffering some kind of oppression, is played out before an audience, who are invited to enter the action and try out solutions for transforming the situation to a more satisfactory ending. In ‘classic’ forum theatre, the situation is devised in small groups; the problem is based on the participants’ own experiences, and acted out in the plenary (the common forum). The participants in a forum theatre take on functions as both actors and spectators, from which the term spect-actor has been coined.
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Suggested further reading on drama education (Source: DICE Consortium (2010): Making a world of difference. A DICE resource for practitioners on educational theatre and drama (Ed. Cooper, C.). Budapest, Hungary)
Szerző
Cím Kiadó Év
Ackroyd, Judith Role reconsidered. A re-evaluation of the relationship between teacher-in-role and acting
Stoke on Trent: Trentham Books
2004
Balfour, Michael & Somers, John (eds.)
Drama as Social Intervention Concord, ON: Captus University Publications
2006
Boal, Augusto Theatre of the Oppressed New York: Theatre Communications Group
1985
Boal, Augusto Rainbow of Desire London: Routledge 1995
Boal, Augusto Games for Actors and Non-Actors London: Routledge 2002
Boal, Augusto The Aesthetics of the Oppressed Oxford: Routledge 2006
Bolton, Gavin Drama as Education. An argument for placing drama at the centre of the curriculum
London: Longman 1984
Bolton, Gavin New Perspectives on Classroom Drama Herts: Simon & Schuster Education
1992
Bolton, Gavin Acting in Classroom Drama. A Critical Analysis.
Birmingham: UBC/Trentham Books,
1998
Bond, Edward The Hidden plot. Notes on theatre and the state
London: Methuen 2000
Bowell, Pamela and Heap, Brian S.
Planning Process Drama London: David Fulton 2001
Burton, Bruce The Act of Learning. The Drama-Theatre Continuum in the Classroom
Melbourne: Longman Cheshire
1991
Byron, Ken Drama in the English Classroom London: Methuen 1986
Carroll, John; Anderson, Michael and Cameron, David
Real Players? Drama, Technology and Education
Stoke on Trent: Trentham Books
2006
Councell, Colin and Wolf, Laurie (eds.)
Performance Analysis - an introductory coursebook
London: Routledge 2001
Courtney, Richard Play, Drama and Thought. The Intellectual Background to Drama in Education
London: Cassel & Co 1974
Courtney, Richard The Dramatic Curriculum London: Heinemann 1980
Davis, David (ed.) Edward Bond and the Dramatic Child Stoke on Trent: Trentham Books
2005
Davis, David (ed.) Gavin Bolton. The Essential Writings Stoke on Trent: Trentham Books
2010
Eriksson, Stig A. Distancing at Close Range. The significance of distancing in drama education
Vasa: Åbo akademi 2009
Erven, Eugène van Community Theatre: Global Perspectives London: Routledge 2001
Fischer-Lichte, Erika & Jain, Saskya Iris
The transformative power of performance: A new aesthetics
London: Routledge 2008
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Fleming, Michael Starting Drama Teaching London: David Fulton 1994
Fleming, Michael The Art of Drama Teaching London: David Fulton 1997
Fleming, Michael Teaching Drama in Primary and Secondary Schools
London: David Fulton 2001
Fox, Jonathan & Dauber, Heinrich (eds.)
Gathering Voices. Essays on Playback Theatre.
Bad Heilbrunn: Klinkhardt Verlag
1999
Gallagher, Kathleen Drama Education in the Lives of Girls. Toronto: University of Toronto Press
2001
Gallagher, Kathleen & Booth, David (eds.)
How Theatre Educates: Convergences and Counterpoints with Artists, Scholars and Advocates
Toronto: University of Toronto Press
2003
Govan, Emma; Nicholson, Helen and Normington, Katie
Making a Performance. Devising Histories and Contemporary practices
London: Routledge 2007
Govas, Nikos; Kakoudaki, Georgina; Miholic, Damir (eds.)
Drama/Theatre & Education in Europe. A report. Part 1
Athens: Hellenic Network Theatre and Education and IDEA Europe
2007
Govas, Nikos (ed.) Theatre/Drama and Performing Arts in Education: Theatre and Education at Centre Stage, 5th International Theatre and Drama Education Conference
Athens: Hellenic Network Theatre and Education
2009
Grady, Sharon Drama and Diversity. A Pluralistic Perspective for Educational Drama
Portsmouth: NH, Heinemann,
2000
Heathcote, Dorothy and Bolton, Gavin
Drama for Learning. Dorothy Heathcote’s Mantle of the Expert Approach to Education
Portsmouth, NH: Heinemann
1995
Heathcote, Dorothy and Bolton, Gavin
So you want to use role-play? A new approach in how to plan
Stoke on Trent: Trentham Books
1999
Hornbrook, David Education in drama: Casting the dramatic curriculum
London: The Falmer Press 1991
Jagiello-Rusilowski, Adam (ed.)
Drama as dialogue for social change Gdansk: Pomost 2010
Johnstone, Keith Impro. Improvisation and the theatre New York: Theatre Arts Books
1979
Johnstone, Keith Impro for storytellers New York: Theatre Arts Books
1999
Jackson, Tony Learning through theatre : New Perspectives on Theatre in Education
London: Routledge 1993
Jackson, Tony Theatre, Education and the Making of Meanings: Art or Instrument?
Manchester: Manchester University Press
2007
Johnson, Liz and O’Neill, Cecily
Dorothy Heathcote. Collected writings on drama and education
London: Hutchinson & Co. 1984
Kempe, Andy The GCSE Drama Coursebook. Cheltenham: Stanley Thornes
1997
Kempe, Andy and Nicholson, Helen
Learning to Teach Drama (11-18) London: Continuing Publishing Group Ltd
2007
Lehman, Hans-Thies Postdramatic Theatre London: Routledge 2006
McCammon, Laura & McLauchlan, Debra (eds.)
Universal Mosaic of Drama and Theatre: The IDEA2004 Dialogues
ON: IDEA Publications and IDEA 2004 World Congress, Ottawa
2006
Morgan, Norah and Saxton, Juliana
Teaching Drama. A mind of many wonders London: Hutchinson 1987
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Neelands, Jonothan Making Sense of Drama London: Heinemann 1984
Neelands, Jonothan Beginning Drama 11-14 London: Routledge 2010
Neelands, Jonothan and Goode, Tony
Structuring drama work. A handbook of available forms in theatre and drama
Cambridge: Cambridge University Press
2000
Neelands, Jonothan & Dickinson, Rachel
Improve Your Primary School Through Drama
London: Routledge 2006
Nicholson, Helen (ed.) Teaching Drama 11-18. London: Continuum 2000
Nicholson, Helen Theatre and Education London: Palgrave – Macmillan
2009
O’Connor, Peter (ed.) Creating Democratic Citizenship Through Drama Education: The Writings of Jonothan Neelands
Stoke on Trent: Trentham Books
2010
O'Neill, Cecily Drama Worlds. A framework for process drama.
Portsmouth: NH, Heinemann,
1995
O’Toole, John and Haseman, Brad
Dramawise. An introduction to GCSE Drama London: Heinemann 1988
O'Toole, John Doing Drama Research. Stepping into enquiry in drama, theatre and education
Brisbane: Drama Australia 2006
O'Toole, John The Process of Drama. Negotiating Art and Meaning
London: Routledge 1992
O'Toole, John & Donelan, Kate ( eds.)
Drama, Culture and Empowerment. The IDEA Dialogues
Brisbane: IDEA Publications 1996
O'Toole, John and Dunn, Julie
Pretending to learn: Helping children learn through drama
Frenchs Forest, N.S.W.: Longman
2002
O'Toole, John; Burton, Bruce and Plunkett, Anna
Cooling conflict : A new approach to managing bullying and conflict in schools
Frenchs Forest, N.S.W.: Pearson Longman
2005
O'Toole, John; Stinson, Madonna and Moore, Tina
Drama and Curriculum: A Giant at the Door Dordrecht: Springer 2009
Owens, Allan & Barber, Keith
Dramaworks Carlisle: Carel Press 1997
Pickering, Kenneth and Woolgar, Mark
Theatre Studies London: Palgrave – Macmillan
2009
Prendergast, Monica and Saxton Juliana (eds.)
Applied Theatre. International Case Studies and Challenges for Practice
Bristol: Intellect Books 2009
Prentki, Tim and Preston, Sheila (eds.)
The Applied Theatre Reader London: Routledge 2008
Prentki, Tim and Selman, Jan
Popular Theatre in Political Culture. Bristol: Intellect Books 2003
Rasmussen, B., Kjølner, T., Rasmusson, V., Heikkinen, H. (eds.)
Nordic Voices in Drama, Theatre and Education
Bergen: IDEA Publications 2001
Rasmussen, Bjørn and Østern, Anna-Lena (eds.)
Playing Betwixt and Between. The IDEA Dialogues 2001
Bergen: IDEA Publications 2002
Robinson, Ken (ed.) Exploring theatre and education London: Heinemann 1980
Sauter, Willmar Eventness: a concept of the theatrical event Stockholm: STUTS 2008
Saxton, Juliana and Miller, Carole ( eds.)
Drama and Theatre in Education: International Conversations.
Victoria, BC: IDIERI/University of Victoria
1999
Schechner, Richard Performance Studies - An Introduction New York: Routledge 2002
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Schonman, Shifra Theatre as a Medium for Children and Young People: Imagesand Observations
Dordrecht: Springer 2006
Schonmann, Shifra (ed.) Key Concepts in Theatre/Drama Education Rotterdam: Sense Publishers
2010
Shepherd, Simon & Wallis, Mick
Drama/theatre/performance London: Routledge 2004
Shu, Jack and Chan, Phoebe et. al. (eds,)
Planting Trees of Drama with Global Vision in Local Knowledge: IDEA 2007 Dialogues
Hong Kong: Hong Kong Drama/Theatre and Education Forum
2009
Taylor, Philip The Drama Classroom. Action, Reflection, Transformation.
London: Routledge Falmer 2000
Taylor, Philip Applied theatre. Creating Transformative Encounters in the Community.
Portsmouth: NH, Heinemann
2003
Taylor, Philip & Warner, Christine D. (eds.)
Structure and Spontaneity. The process drama of Cecily O'Neill
Stoke on Trent: Trentham Books
2006
Thompson, James Applied theatre: Bewilderment and beyond Oxford: Peter Lang 2003
Toye, Nigel and Prendiville, Francis
Drama and traditional story for the early years
London: RoutledgeFalmer 2000
Turner, Cathy and Behrndt, Synne K.
Dramaturgy and Performance London: Palgrave - Macmillan
2008
Winston, Joe Drama, narrative and moral education: Exploring traditional tales in the primary years
London: Falmer Press 1998
Winston, Joe and Tandy, Miles
Beginning Drama 4-11 London: David Fulton 1998
Woolland, Brian Pupils as playwrights: Drama, literacy and playwriting
Stoke on Trent: Trentham Books
2008
Wooster, Roger Contemporary Theatre in Education Bristol: Intellect 2007
Østern, Anna-Lena et.al. (eds.)
Drama in three movements: A Ulyssean encounter
Åbo: Åbo Academy University
2010
Suggested international websites for further guidance
http://www.dramanetwork.eu
http://www.childdrama.com
http://www.creativedrama.com/
http://www.dramaresource.com
http://www.learnimprov.com
http://lessonplancentral.com/lessons/Art/Drama/index.htm
http://www.mantleoftheexpert.com
http://www.proteacher.com/080010.shtml
http://www.thedramateacher.com
http://www.thevirtualdramastudio.co.uk/
http://www.vl-theatre.com/
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About Insite was founded by two internationally acknowledged specialists of drama and theatre education. InSite hopes to become a new voice and a catalyst of discussion in Hungary and internationally in the field of drama. InSite’s vision is to facilitate facing the most pressing problems of our times through drama and to enable changes in understanding of individuals’ concerning their values and stance; so that they are able to act responsibly in society and become active agents of change. The organisation’s work affects primarily the youth and children age-group directly or indirectly. To achieve greater social impact we also work with decision makers, communities and higher education institutions. The organisation’s work is based on theatre in education and drama in education practices pioneered in the UK and the drama theory of Edward Bond, creating possibilities of dramatic engagement where participants can question their received cultural values and biases through situations, and make meaning of events freely to form their own values in relation to the problems under scrutiny. InSite is happy to offer its services in the following fields: Drama in education training for teachers
Introduction to drama education – an introduction to the theory and practice – with an emphasis on practice - demonstrating the essential uses of drama as a tool for learning for teachers working in theatre and drama or across a range of subjects.
Different approaches to drama education – mapping out the difference in approach between pioneers in drama education (Heathcote, Bolton, Neelands, O’Neill) through examining their practice.
Bondian drama education – the potential for using Edward Bond’s approach to theatre in classroom drama.
Training for theatre practitioners
Educational practices linked to performances – training for actors, staff working with young people/children.
Course in Theatre in Education – for designing and implementing complex TIE programmes for different age-groups and different contexts.
Specialist advice in designing educational drama programs and research
With the successful implantation of a variety of drama and theatre education programs behind us, and a considerable amount of experience in research of different scope and approach, we can assist in designing new or evaluating and re-working existing programs to enhance effectiveness and efficiency.
Drama education projects or theatre interventions for specific purposes in projects
We design and execute drama based interventions in order to achieve specific aims outlined in projects. We have experience ranging from aiding civic youth projects to helping equity research with dramatic tools.
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We believe that any educational and artistic activity should take into consideration the specific context it is being implemented in. We adapt all our trainings in relation to specific needs and circumstances.
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Annex Training of InSite Drama for the EUBULLY project Location, date
Evaluation Name (optional): Profession (optional): Employer (optional): This evaluation will be used in confidence by the external evaluator for the EUBULLY project, to explore what differences the project is making. Please complete this form at the end of the activity you have participated in and give it to the activity organiser. 1. Overall, how satisfied were you with the content of the course?
1 2 3 4 5 6 7
I am not at all satisfied → I am fully satisfied Reasons:
2. Are you satisfied with the logistics of the training? (meals, buffet, technical details)
1 2 3 4 5 6 7
I am not at all satisfied → I am fully satisfied Reasons:
3. Are you satisfied with the trainers? (e.g. preparedness, communication with the participants, flexibility)
1 2 3 4 5 6 7
I am not at all satisfied → I am fully satisfied Reasons:
4. Are you satisfied with the handout?
1 2 3 4 5 6 7
I am not at all satisfied → I am fully satisfied Reasons:
5. Can you apply the content of the course in your daily practice on addressing bullying?
1 2 3 4 5 6 7
not at all → to a great extent Reasons:
6. From a personal, subjective point of view: how did you feel yourself?
1 2 3 4 5 6 7
badly → excellently Reasons:
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Please the appropriate responses to each statement.
1 The activity was what I expected
2 The information/guidance I was given before the activity was useful
3 I now have a better understanding of how drama in education techniques might be used to create safe places to address contentious issues such as bullying
4 I now have the confidence to use some drama in education techniques with young people in my establishment to address bullying and other contentious issues
5 I now have the confidence to share some drama in education techniques with my co-workers to address bullying and other contentious issues
6 I know where in my work with young people I can use drama in education to address bullying
7 I now understand the different actors involved in bullying:
The victim
The bully
The bystander
What my role might be
8 I now understand the difference between bullying and teasing better
9 I am now better prepared to deal with bullying in my own organisation
10 I am now better understand what can be done to deal with bullying
11 I now feel I can help to strengthen anti-bullying strategies in my own organisation
12 I will now address bullying in my own organisation
7. Are you intending to implement what you have just learnt in your daily practice? If yes, when, how and for whom? 8. What did you like in the course? 9. What did you not like in the course or what have you missed? 10. What specific recommendations would you have for the trainers? 11. Anything else that you feel important to say:
Everything considered, I rate the training ........% (max 100%). Thank you for your cooperation in this matter as it is very much appreciated.
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